By Sarah Orne Jewett
A party of the previous in tales facing woman friendships and stories that painting the resilience with which her woman characters reply to poverty. contains "The city Poor," "Miss Peck's Promotion," "The Passing of Sister Barsett," "The Denham Ladies," "Miss Tempy's Watchers," and five extra.
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Extra resources for A White Heron and Other Stories
To reiterate the connection, we are told here that “The Craggs lie about a mile and a half beyond Mr Heathcliff’s place” (166). Wuthering Heights as a house can be regarded as the female counterpart of the Crag. The warm, womb-like kitchen is the sanctuary of most the central characters at some point in the story, including both Catherines, Nelly Dean and even Lockwood. It is a space from which Heathcliff is frequently banished, and in which he is alien, unwelcome, and uncomfortable. Despite being referred to here as “Heathcliff’s house” it is primarily with female consciousness that the edifice of Wuthering Heights is associated.
Rasa is defined as the “taste” or “flavour” of the mind experiencing states of emotion, or moods, as “aesthetic rapture” analogous to the appreciation of tastes from food that has been properly prepared. This experience ultimately is associated with the bliss that is innate in pure consciousness, or “least excitation” of consciousness – that is characterised as a state devoid of thought. In fact, it could be argued that the purpose of theatrical performance and literary appreciation is to help the spectator, or reader, towards an experience of pure consciousness (Haney 2008).
He continues to ask, “whether there is some extra linguistic explanatory cause. Nor is this a trivial issue. It is the most important question to novel raises” (177). In order to elucidate such problems, I shall discuss some of the work to date relating the novel to the sublime and the gothic, and in association with feminism. My main focus however, will be on the theory of rasa from Indian literary theory, which, I will argue here, provides the most cogent means of interpreting the novel. Utilising the model of rasa theory—which I shall elaborate shortly—provides not only a link with contemporary consciousness theory’s notion of qualia, but is also a logical progression of thought from the existing arguments relating the sublime, the uncanny and the gothic in Emily Brontë’s work.
A White Heron and Other Stories by Sarah Orne Jewett